Siete de un golpe is a studio of art edition dedicated to the printing of photographic and graphic work, editing, book producing, and editorial and expositional coordination. All the aforementioned is tightly linked with the artist. The website works making printouts, photography books and special editions, portfolios and exhibitions. how did you come up with the idea of creating siete de un golpe?
I was drinking coffee with Laura, my partner. She has a degree on Media Studies and works as a photographer. She was a student of mine in a Photoespaña’s master at UEM two years before that. When I quit the job at the studio I was working I was going through a rough patch. I was disappointed and I didn’t want to work for somebody else anymore, under guidelines I didn’t understand and mechanics that I considered obsolete and little functional. I wanted to be the ultimate responsible of my good and bad decisions. Laura wanted to learn more about book editing and she was the first to believe in
me. I am sure that Siete de un golpe wouldn’t exist without her. who forms the siete de un golpe staff?
We were three people at the beginning. We lost half of our financing when we started building our company, but Laura had a great idea: she suggested that we exploited the name we chose to make a list of profiles that would give the company something different, modest sponsors that trusted us and liked our ideas. These sponsors are Manolo Sonseca, Luis Castelo, Emilio Martínez, Matías Pérez Llera y Juanjo Justicia, who shares his passion with Carlota Juárez, his life partner. All of them represent expert views in different areas that we go to in search of advice, help, or relax by grabbing a pack of beer together. We also have a nourished network of collaborators such as Verónica Fernández, Sole Parodi, María Sánchez, Gonzalo Hernández, and companies like Underbau, La Eriza or Astrolab Studio. We like creating networks and being “pollutant”.
what do you think it makes you different regarding art editing?
We treat photography like a flexible discipline and full of different shades, we apply demanding criteria but focused on art editing. We propose the photographic book as means of ideal diffusion and commercialization of the work, whether it is a book of an artist, or a conventional publication that takes from the new means of production, advertisement, sale and distribution of the book. It’s not the exhibition of the book that makes it possible, but all the way round. can the essence and criterion of the artist be altered when you get involved in their work, even advising the artist the best way possible?
It shouldn’t, unless the author wanted it that way. Editing is listening, formulating the right questions, presenting the natural contradictions that usually appear in the creative process when you’re editing solo, it is also giving back the overview to the author and helping them to intercontinued next page
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